![]() ![]() One thinks of a TV comedy ensemble as a tight group, but as you’ve mentioned, the cast has only gotten larger and the episodes longer. But that is also the genius of it, and that’s also the beauty of the show’s budget that you can roll with those things a bit. A two-page scene becomes three pages magically, overnight. Jason is so involved, and there was a lot of improvisation on set. And that’s why the episodes get longer nobody’s losing scenes or losing lines, there’s just more of everything. Let’s keep them.” The characters get developed because the cast are really good at playing them. They hire actors who are really good and they’re like, “This guy’s great. ![]() The way Jason works, it develops as the season goes on. Thankfully this year, I only directed the last two episodes, but they were also hugely involved, being 70-minute episodes.Īs someone who has worked on all three seasons, how early do you learn about storylines and character arcs? In season two, I because I was a supervising producer. And then when you go to the dugout to see Ted, Beard, Roy and Nate, that’s in a separate, smaller field with nothing behind the camera. And then it cuts to Rebecca, Keeley and those guys up in the box - that’s shot in the same place, but it’s not shot at the same time as we shoot the football. Then, if there’s drama on the pitch for the actors, the director for that episode shoots the on the pitch, but then you get off and the football guy does all the wide shots on the action. The football is shot by the football director. ![]() But then you’ve got the football - the soccer, as you call it - and that’s quite a complicated thing to shoot. There’s the core cast of 18 characters who interact. What are some of the challenges of working on such a big project? ![]()
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